Plug the KPA into the effects loop on your amp - turn off cabinet - PReeetttyyy cooll

    So I don't know if anybody else has tried this, but tonight, I ran the KPA into my effects return on my tube amp -


    turned off cabinet on the profiles (and locked it there) and it sounded pretty freaking good. I guess ymmv depending on the type of amp -
    but it was pretty cool


    HORRAY


    Evan


    you could also use the monitor output of the Profiler. check the box "Monitor Cab. Off" in the Output section and you're done.
    this way you don't have to lock the Cabinet in the off position and more importantly, you can still send your 'full' signal to the FOH, PA in the rehearsal space etc via the main outs.


    d

    The biggest issue I see is that what you hear and make adjustments to is not what is coming from the PA if you still go direct from Main L/R out to the PA and monitor out with cabs off.to an amp. You'll have two unrelated tones, what you hear and then the PA.


    bd

    Quote from musicman65

    The biggest issue I see is that what you hear and make adjustments to is not what is coming from the PA if you still go direct from Main L/R out to the PA and monitor out with cabs off.to an amp. You'll have two unrelated tones, what you hear and then the PA.


    bd

    Exactly like with your real amp on stage, what you're hearing is not the same as the miked version hitting the PA...two unrelated tones.
    Easy solution.
    Make sure you, the band and the sound engineer are happy with the PA tone, then make yourself happy onstage with your poweramp/cab tone...just like you'd do if you're miking your tube amp.

    Quote from Guitartone

    Exactly like with your real amp on stage, what you're hearing is not the same as the miked version hitting the PA...two unrelated tones.
    Easy solution.
    Make sure you, the band and the sound engineer are happy with the PA tone, then make yourself happy onstage with your poweramp/cab tone...just like you'd do if you're miking your tube amp.

    Not sure it's exactly the same thing for me, but definitely similar in that the tones are different when mic'ing an amp. The way I see it, when using monitor out to a guitar amp/cab, the KPA is changing cabs as we change profiles yet our onstage tone is the same cab and amp (always tonally colored) and totally unrelated to the KPA's cabs....so our PA tone could change drastically and stage tone not alot. Cab tone is half of the KPA's character.


    With an amp and mic'd cab, the idea is that the mic is attempting to replicate our cab as closely as it's design allows (or we can afford). The sound engineer should make up the difference as much as possible. The reason it sounds different to me is due to mic placement and the room and space between me and the cab. The mic is inches away so room effects are minimal to it. What I hear is bouncing off of everything else...floor, ceiling, walls, surrounding stage gear, clutter, etc...


    Anyways, those are the reasons I eventually went FRFR years ago after experimenting with different onstage amp methods. I really felt that I needed the audience to feel every note just like I do so the PA and backline needed to sound as close as possible. Everyone is different and what works for some, is unusable by others. FYI, I use earbuds now in addition to FRFR. Never could have made that leap from "Big Tube Amp on Stage" to Earbuds all at once....I just ended up liking them as I migrated towards modeling (and now profiling) devices.


    bd

    I've been using the KPA strictly with a FR setup so far, and I'm interested in trying with a guitar power amp and cab soon. To start I'll be running the monitor out into the FX return of a Mesa 5/25 combo, just because it's convenient (and paid for).


    Here's the part that I don't understand:


    If you turn off the cab section for a normal profile, the KPA must be doing some "inverse" DSP to remove the EQ etc. of the cabinet used when the profile was made. In other words, the KPA is performing the opposite of speaker simulation.


    Therefore, if you use a DI profile and a real cab and you turn off the cab section (as recommended in posts above) won't you be messing up the tone of the DI profile by applying DSP you don't need, i.e. the algorithm intened to remove cabinet characteristics from a typical amp+cab+mic profile?


    I would think that with a DI profile, you'd want to leave the entire rig stack (including cab) turned on. Can someone explain how I've got this wrong? 8|

    There is nothing wrong with DI profiles, especially when you want to substitute your amp that you are familiar with, while keeping the matching cabinet and the power amp.


    But what if you want to play an AC 30 profile live and monitor it thru your 4x12 cab? The "MonitorCabOff" feature and the Monitor EQ gives you the right setup.

    Hi Christoph. Thank you for your reply. However this doesn't really answer my question. I think I may be confusing matters by using the wrong terminology here.


    When I say "DI Profile" I am referring to profiles that were made without a physical speaker cabinet or microphone, for instance, when the effects loop send or direct out of a physical amp is used to capture its preamp characteristics only. I would expect that, if you wanted to use such a profile in combination with a physical power amp and speaker cab, you would want the entire KPA stack enabled - including Cab - so that you aren't de-compensating for a speaker cabinet that was never profiled in the first place.


    In other words, because the KPA is typically used to profile an entire signal path, including cab and mic and mic pre, turning off Cab in the stack actually applies additional DSP as I understand it, so if you've captured a preamp alone, you would want to leave cab on, however counter-intuitive that may seem.


    It gets hard to talk/ write about without confusing physical components with virtual ones... Am I making any kind of sense to anyone here?